Baburao Jadhav
Script error: No such module "AfC submission catcheck". Baburao Jadhav (1915-1976) was a vocalist of Hindustani khayal gharandaj gayaki of the Kirana vocal musical tradition pioneered by Ustad Abdul Karim Khan.
Pandit Baburao Vishwanathbuwa Jadhav | |
|---|---|
| Birth name | Babu Vishwanathbuwa Jadhav |
| Born | 21 February 1915 Kolhapur, Kolhapur district, Bombay Presidency, British India |
| Died | {{Death 16|07|1976 Kolhapur, Maharashtra, India |
| Genres | Indian classical music |
| Occupation(s) | Classical Khayal Vocalist-Performer-Pedagogue |
| Years active | 1925-1976 |
| Website | http://www.proudhgandharva.in/ |
| Past members | Father's Name:- Vishwanathbuwa Balwantrao Jadhav
Mother's Name:- Parvatibai Vishwanathbuwa Jadhav Brothers' Name :- 1) Pandit Rajaram Vishwanathbuwa Jadhav 2) Pandit Pandurang Vishwanathbuwa Jadhav Sisters' Names :- 1) Smt. Kalavati Madhavrao Herekar 2) Smt. Shobha Narayanrao Bhosale 3) Smt. Ambutai Manvendra Belgaonkar Wife's Name:- Smt. Ashadevi Baburao Jadhav Sons' Name's :- 1) Shri. Prakash Baburao Jadhav 2) Shri. Ravindra Baburao Jadhav 3) Shri. Jagdish Baburao Jadhav 4) Shri Satish Baburao Jadhav Daughters' Name:- 1) Smt. Shailaja Ramchandr Bhosale 2) Smt. Vijaya Vasantrao Mordekar |
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Pandit Baburao Jadhav took his training In Indian classical music (gharandaj khayal gayaki) from his father “Proudh Gandharva” Pandit Vishwanathbuwa Jadhav, a foremost disciple of Ustad Abdul Karim Khan. Pandit Baburao Jadhav later also was a direct disciple of Ustad Abdul Karim Khan from whom Baburao received advanced training in the ‘kirana gayaki’ vocal finesse from 1934-1937.
Pandit Baburao Jadhav his began his career at the age of ten when he gave his maiden performance singing before the Idol of Shri Mahalakshmi Ambabai during the ‘Navratrotsava’ at the Mahalakshmi Ambabai Temple in Kolhapur.
From 1934 to 1940, Pandit Vishwanathbuwa Jadhav (assisted by his sons, Baburao, Rajaram and Pandurang), was a pioneering music composer in the early talkie-era of the Indian film industry. Composing music for films was an additional responsibility entrusted upon him by the Maharaja of Kolhapur, as a part of his court duties. Pandit Vishwanathbuwa and sons scored music for a number of films made in Kolhapur, notably ‘Swarg’ (1934) for “Samrat Studio”, ‘Kaliyamardan’ (1935) for “Kolhapur Cinetone”; ‘Gangavataran’ (1937) for “Kolhapur Cinetone”; ‘Bharatbhet’ for “Lalit Pictures Ltd”; and ‘Shyama’ for “Lalit-Omkar Pictures”, ‘Dhruva Kumar’ (1938) for “Shalini Cinetone”; ‘Moheni’ (1940) for “My Pictures”. ‘Ayodhyachi Rani’ (1940) for “Shalini Cinetone”.
Pandit B.V. Jadhav, and Pandit R.V. Jadhav frequently accompanied on ‘tanpura’ their father, Pandit Vishwanathbuwa Jadhav in the private ‘mehfils’ of ‘sardars’ ‘inamdars’ and other aristocratic patrons of the Southern Maratha Country on several occasions. They together won every concert platform with religious fervor and zeal. Panditji’s ‘darbar’ recitals were invariably successful because of the ‘tanpura’ accompaniment provided by his charming and handsome sons. Panditji’s sons were well-trained and equally competent. Their voices and style were so compatible that their singing was perfectly synchronized making the audiences listen with great intent and rapt attention.
On October 5th, 1940, Maharani Tarabai gave birth to a daughter who was given the name Padmaraje. As a part of the birth celebrations, Chhatrapati Rajaram Maharaj invited Panditji to give a ‘darbar’ recital showcasing the talent of his sons. Panditji and his sons Baburao, Rajaram and Pandurang regaled the royal and aristocratic audience by their singing receiving spontaneous praises and instantaneous applause. An ecstatic Maharaja Rajaram complimented Pandit Vishwanathbuwa for the excellent grooming of his sons, who had by then started taking ‘darbar’ assignments on their own merits. His Highness Chhatrapati Maharaja Rajaram went on to acknowledge his appreciation stating, “The deeds of valour of our Maratha warriors have brought us great honour and glory in the battlefields……Now, this “Gandharva Parivar of Karveer Nagar” promises to make us proud in the field of music”.
The Maharaja, besides collectively according this sobriquet to Pandit Vishwanathbuwa Jadhav and his sons, also felicitated them with the customary turban of scholarship thereby officially designating them as the ‘darbar gayaks’ of Kolhapur State.
Between 1940-1960 Pandit Baburao Jadhav shouldered the responsibility of the “Swar-Mandir” (‘Kirana Sangeet Vidyalaya’) in Kolhapur, the Shri Gajanan Swar-Mandir (Kirana Sangeet Vidyalaya’)in Sangli as well as the Sharda Sangeet Vidyalaya in Kolhapur. He was one of the formost vocalist- performer-pedagogue in the ‘Kolhapur Desh Region’ representing the Kirana vocal tradition of the ‘Kirana gharandaj khayal gayaki’. During this period along with his brother Pandit R. V. Jadhav they accompanied on ‘tanpura’ their father in performances at the courts of some of the most powerful princes of colonial India.
Keeping in mind Shahu Maharaja’s vision of developing “Sharda Sangeet Vidyalaya” into a full-fledged music academy, Chhatrapati Shahaji proposed to rehabilitate “Sharda Sangeet Vidyalya” suitably. The ‘Vidyalaya’ was in 1965 transformed to “Shri Shahu Chhatrapati Sangeet Vidyalaya”, Kolhapur to honour its founder Chhatrapati Maharaja Shahu and his vision. The “Sharda Sangeet Vidayalaya” was rehabilitated as “Shri Shahu Chhatrapati Sangeet Vidyalaya” in the sacred and prestigious “Tulja Bhawani Mandap” near the “Shri Mahalakshmi Ambabai Mandir” in the heart of the city. The ‘Vidyalaya’ was funded by the “Chhatrapati Cultural Education Trust to Palace”, Kolhapur (estd. in 1951). Pandit Baburao Vishwanath Jadhav, the ‘darbar gayak’ and the former Principal of the “Sharda Sangeet Vidyalaya”, Khasbaug was appointed as Principal of the “Shri Shahu Chhatrapati Sangeet Vidyalaya”, Kolhapur.
Between 1965 to 1976 Pandit B. V. Jadhav’s official duty as ‘darbar gayak’ was to sing daily before the idol of goddess Tulja Bhavani in the “Tulja Bhawani Mandap” for an hour in the evening. Pandit B. V. Jadhav built up a huge following of aspiring disciples during his tenure of eleven years at the “Shree Shahu Chhatrapati Sangeet Vidyalaya” Kolhapur.
On 12th March, 1972, “Gantapasvi” Pandit Baburao V. Jadhav was felicitated on having completed sixty years of age at “Gayan Samaj Deval Club”, Kolhapur, by Shri M.B. Lohiya who presided over the function. President of the felicitation committee Adv. Ram Joshi and Chief Guest and eminent musicologist-writer Shri Narhar Vishnu alias Baburao Joshi (seated) are also seen in the photo.
On the occasion of the “Rajarshi Shahu Chhatrapati Birth Centenary Pandit Baburao Vishwanath Jadhav “Pandit Baburao Vishwanath Jadhav was honoured by the President of Kolhapur Zilha Parishad (for his invaluable contribution to the spread of Indian classical music). The function was held in Kolhapur on 23td March, 1975. Pandit Baburao Jadhav on receiving the award appealed to the people of Kolhapur to come together to develop the “Shri Chhatrapati Shahu Sangeet Vidyalya” Tulja Bhawani Mandap, Kolhapur into a full- fledged modernized music academy as envisaged by Shahu Maharaj himself in 1915.
The Jadhav brothers B. V. & R. V. having enjoyed royal patronage never craved for riches nor ran after publicity. They led a simple life devoted to selfless service to the cause of traditional ‘khayal’ singing. They were proud of their impressive pedigree and therefore did not run after politically motivated awards as they had been handsomely rewarded and felicitated at several prominent princely courts. They were the most attractive artistes amongst contemporary singers because of their handsome looks and cultured upbringing and regal bearing.
The vocal recitals of Pandit B. V. Jadhav delightfully portrayed the striking features of the ‘Kirana gayaki’ of which Ustad Abdul Karim Khan was the chief pioneer, not surprisingly then Pandit B. V. Jadhav never failed to impress his audiences. He gave ample evidence of his strenuous cultivation of an ornate, meticulous vocal technique. His knowledge was of such character as to mark him off at an early age as a vocalist not in any degree inferior to and in some respects way ahead of his contemporaries. His vast knowledge and the eagerness to impart it, exercised tremendous influence over his pupils. As a teacher his success was unrivalled in Kolhapur.
B. V. had a pleasant compelling voice, hitting the right notes and synchronizing with the ‘tanpura’ drone with expert proper taleem (systematic training) and constant ‘riyaz’ (relentless practice). He could with the help of voice culture overcome the genetically determined factors (which cannot be altered) of the vocal mechanism and manipulate them to make the voice more melodious.
‘Alapi’ was Pandit B. V. Jadhav’s forte. His ‘vilambit’ (‘slow tempo’) unfolding of the ‘khayal’ was marked by leisurely, relaxed progression projecting a coherent, integrated picture of its melodic personality. The ‘drut’ themes were embellished with a variety of ‘gamak tans’ in the typical Kirana style. His ‘thumris’ were equally notable for the peculiar twists, curves and familiar angularities associated with the novel trend set by his mentor Ustad Abdul Karim Khan. The Columbia Gramophone Company, India had recorded an L. P. Record to honour his ‘gayaki’. What actually characterized B. V.’s gayaki was an effervescent melodic quality which was concretized in a masterly flow of ideas which were delivered with a unique sense of alacrity. Baburao was a master of ‘thumris’ that provided an avenue for displaying variable notes with greater abandon than was possible in the ‘raga’- restrained ‘khayal gayaki’. He had extensively guided Shri Baburao Joshi in his research work on ‘thumris’.
Many Indian virtuosos presumably are as susceptible to egoism as anyone else. However, despite his virtuosity, Pandit B. V. Jadhav taught with no apparent self-importance. His music always sounded humble. Vanity and pride had absolutely no place in Baburao’s temperament despite his greatness and achievements. Life for Baburao had never been a bed of roses. He had struggled hard to master the art of music and kept the traditional form of learning music alive in the ‘Kolhapur Desh Region’ at a time when academic learning was trying to overshadow music as a performing art. He emphatically asserted, “Only performing artistes who can reveal through their performances what they teach can be regarded as genuine teachers of ‘gharandaj khayal gayaki’.
Through his concert recitals, performance-oriented teaching, dynamic and attractive personality he inspired and built in his disciples a strong allegiance to traditional learning of the ‘Kirana gharandaj khayal gayaki’. Baburao achieved his highest fulfillment as a teacher by his sterling qualities of integrity and honesty towards his profession. Though he taught music for his livelihood, he never bothered about collecting fees from his students on time, and often waived the fees or accepted what the student offered. During his career he had trained over five hundred students, many of whom continue to propagate the ‘Kirana gharana gayaki’.
(1) Pandit B.V. Jadhav (following 'Raga' recodings con be heard on Youtube Links as audio- visual presentations. links- SWAR-MANDIR - https://www.youtube.com/channel/UCkVQdSdwBC_nivr-6OvK2pA/featured
SHARDA SANGEET VIDYALYA, KOLHAPUR- https://www.youtube.com/channel/UC9xk-VP1kJW6qXx-ASoMhjw
| Sr. No. | Raga | Tal | Cheez | Duration |
| 1 | Basant | Drut-Trital | "Phagava brij dekhanko chalori" | 12 Min. 15 Sec. |
| 2 | Bhairavi (Thumri) | "Chaye gayori tore nainuvame jo ram" | 7 Min. 49 Sec. | |
| 3 | Jog Kauns | Vilambit-Ektal, Drut-Trital | "Sugarbhar payo", "Peer parayi jane nahi balamva" | 25 Min. 30 Sec. |
| 4 | Jhinjhoti (Thumri) | “Hori Khelo Mose Nanda” | 13 Min. 53 Sec. | |
| 5 | Darbari Kanada | Vilambit | “Dulhan teri acchi bani hai” | 33 Min. 57 Sec. |
| 6 | Darbari Kanada | Vilambit | -----------do----------- | 31 Min. 02 Sec. |
(2) Pandit B. V. Jadhav & Pandit R.V. Jadhav (Jugalbandi)
| Sr. No. | Raga | Tal | Cheez | Duration |
| 1 | Multani | Vilambit, Drut | "Yeri saheb jamal hajrat kamal",
"Kangana mundariya mori re" |
45 Min. 16 Sec. |
| 2 | Patdeep | Vilambit -Jhaptal | "Kavan sukh payo" | 16 Min. 52 Sec. |
“Gantapasvi” Pandit Baburao V. Jadhav
Pandit B. V. Jadhav
pandit baburao vishwanath jadhav
- 8Further reading
- 9 External links
http://www.proudhgandharva.in/
SWAR-MANDIR - https://www.youtube.com/channel/UCkVQdSdwBC_nivr-6OvK2pA/featured
SHARDA SANGEET VIDYALYA, KOLHAPUR- https://www.youtube.com/channel/UC9xk-VP1kJW6qXx-ASoMhjw
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